Our legacy is one of combustion.From the domestication of fire to the release of the atom
bomb, the tracks we have left behind have been written in the ash of our
technical prowess.The “infinity
room,” a plutonium pumping station at Rocky Flats that leaked so badly that the
whole room was welded shut, was so dubbed because radiation levels were beyond
what instrumentation could register.

The works in this exhibition have evolved from a sense of
wonder mixed with a sense of the tragic:Did speculative (mirror) self-awareness emerge before the flicker of a
fire?Does a map blind us to the
material particulars of place?Does naming something inhibit the act of seeing it?What is the cost of gazing upon beauty
or the glare of a nuclear explosion?

These pieces are not meant to be read.They are not meant to
be interpreted or translated.In fact, they have to do with the very problems that surround the
attempt to represent one thing is terms of another.Ultimately, they are meant to provoke perceptual experiences
that lead to a particular feeling—a feeling that mixes wonder with
critical reflection.